Archive: installation art
Mesmerizing glitter artwork shimmers in downtown LA

Mesmerizing glitter artwork shimmers in downtown LA

Poetic Kinetics – Liquid Shard, Pershing Square, Los Angeles, 2016
Poetic Kinetics – Liquid Shard, 15000 square feet of silver streamers, at Pershing Square, Los Angeles, 2016

Introduction

If you keep a tab on what’s happening in the public display arts, the odds are that you came across the Liquid Shard. It was a public art installation on display in Pershing Square in LA between July 28 and August 11, 2016. Thanks to its odd size, unique design, and pure ingenuity of the creators, the Liquid Shard was all the rage, wafting several posts on social media, and made headlines in the US and all over the world.

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Please step on this artwork – LikeArchitects

Please step on this artwork – LikeArchitects

likearchitects - lisbon - jen lewin - the pool
LIKEarchitects with Jen Lewin’s installation The Pool, Colombo Shopping Mall, Lisbon, Portugal, 2014

LIKEarchitects, a Porto-based architecture studio constructed the temporary exhibition at Colombo Shopping Mall in Lisbon, Portugal that would hold Jen Lewin’s highly interactive luminous installation titled ‘The Pool’.

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Our Art Basel top 10

Our Art Basel top 10

Rirkrit Tiravanija - untitled 2015 (bangkok boogie woogie, no. 1), 2015, Art Basel Unlimited 2018
Rirkrit TiravanijaUntitled, 2015 (bangkok boogie woogie, no. 1), 2015, Art Basel Unlimited 2018
Video/Film, Bronze tires, copper sheets, video, color, sound
Dimensions variable
Photo: Public Delivery

Rirkrit TiravanijaUntitled, 2015 (bangkok boogie woogie, no. 1), 2015

“In 2010, Bangkok erupted in violence with protesters from both the Left and Right, battling the military in the streets. The main weapon on both sides was the tire, both as a barricade and as improvised Molotov cocktail, rolled instead of thrown. In 2015, Rirkrit Tiravanija created an installation, untitled 2015 (bangkok boogie woogie, no. 1), sourced from this particularly vernacular form of action, straight from the streets of his hometown. In what became the very last action at the old Gavin Brown’s enterprise space on Greenwich St. in New York before it was demolished, Tiravanija cast rubber tires into bronze doppelgängers, and rolled them flaming through the gallery filled with petroleum fuel; all of this was filmed, edited, and used as the backdrop for the installation. The mirrored copper floor reflects the rolling burning movement, while the metal tires produce a clanging soundtrack, conjuring a feeling of violent assault within the gallery space. Part political reflection, and part kinetic experiment, untitled 2015 (bangkok boogie woogie, no. 1) passes on messages from the protesters, and also from other brothers-in-arms: Fischli & Weiss, Allan Kaprow, and Jean Tinguely.”
Jetzer, Gianni (2018) retrieved from artbasel.com/artworks

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A seemingly impossible installation – Tomás Saraceno

A seemingly impossible installation – Tomás Saraceno

Tomás Saraceno - In Orbit, 2013. Installation view, Kunstsammlung Nordrhein-Westfalen, K21 Ständehaus, Düsseldorf
Tomás SaracenoIn Orbit, 2013, permanent installation at Kunstsammlung Nordrhein-Westfalen, K21 Ständehaus, Düsseldorf

A massive installation by Tomás Saraceno titled In Orbit has to be one of the artist’s most notable and successful installations. At a height of more than 20 meters, Saraceno suspended a mesh construction within which audiences could move weightlessly on the net. The net construction, which was accessible on 3 levels, was designed to resemble a cloud setting or landscape.

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Luke Jerram’s stunning 7m balloon model of the moon

Luke Jerram’s stunning 7m balloon model of the moon

Luke Jerram - Museum of the Moon, photo from inside the Moon

Luke Jerram - Museum of the Moon
Luke JerramMuseum of the Moon, balloon, 7m (23 ft) in diameter

Bristol native and artist Luke Jerram has an unerring knack for creating arresting public art projects. One of his recent works is Museum of the Moon, a model of the moon, that was singlehandedly created by Jerram. It is so realistic in its detailing and features such that each centimeter of the spherical structure represents 5km of the moon’s surface. The spherical surface is covered with accurate pictures of the moon and the inside is lit internally to make it as similar looking to the actual moon as possible.

The moon, which is 7 meter diameters, was designed and intended to be a touring art piece. The light included within the gigantic sphere helps to make the imagery more visible. To ensure that the renderings were as realistic as possible, Jerram had to make use of official images that Nasa had taken before using bright color lights to backlight the inside of the sculpture.

Jerram came up with the idea of the piece because of the moon’s universal appeal and influence; the moon looks the same and it has the same effect regardless of where in the world it can be seen. The moon has always served the role of a cultural mirror that reflects people’s traditions, cultures, and beliefs. As such, the moon can be classified as a god that has inspired the development of numerous art forms including music, poetry, language and art. The Museum of the Moon was therefore created as an homage to the natural wonder.

Because people have different beliefs about the moon and its power, Jerram’s sculpture was designed to be showcased in different parts of the world. This way, the moon will provoke different sensations, thoughts, and feelings depending on where in the world it is being observed. The purpose was to create something that is both attractive and a piece that can also invite questions about life in general. In the end, the hope is that audiences will be moved to reconnect with the ubiquitous moon as they explore the impact of the moon on various cultures and societies.

Luke Jerram - Museum of the Moon - University of Bristol Great Hall, Wills Memorial Building, Bristol, 2017 4
Luke JerramMuseum of the Moon, balloon, 7m (23 ft) in diameter, University of Bristol Great Hall, Wills Memorial Building, Bristol, 2017
Photo: Neil James Brain

Luke Jerram - Museum of the Moon - University of Bristol Great Hall, Wills Memorial Building, Bristol, 2017 2
Luke JerramMuseum of the Moon, balloon, 7m (23 ft) in diameter, University of Bristol Great Hall, Wills Memorial Building, Bristol, 2017

Luke Jerram - Museum of the Moon - University of Bristol Great Hall, Wills Memorial Building, Bristol, 2017 3
Luke JerramMuseum of the Moon, balloon, 7m (23 ft) in diameter, University of Bristol Great Hall, Wills Memorial Building, Bristol, 2017

Luke Jerram - Museum of the Moon - University of Bristol Great Hall, Wills Memorial Building, Bristol, 2017
Luke JerramMuseum of the Moon, balloon, 7m (23 ft) in diameter, University of Bristol Great Hall, Wills Memorial Building, Bristol, 2017

Luke Jerram - Museum of the Moon - Lieux Publics, Cité des arts de la rue, Marseille, Photo Gregoire Edouard
Luke JerramMuseum of the Moon, balloon, 7m (23 ft) in diameter, Lieux Publics, Cité des arts de la rue, Marseille, 2016
Photo: Gregoire Edouard

Luke Jerram - Museum of the Moon - St. Thomas’ Church, Kendal, UK, 2016 2
Luke JerramMuseum of the Moon, balloon, 7m (23 ft) in diameter, St. Thomas’ Church, Kendal, UK, 2016

Luke Jerram - Museum of the Moon, installation of the moon
Installation of Museum of the Moon

Luke Jerram - Museum of the Moon, photo from inside the Moon
Photo of Luke Jerram inside of Museum of the Moon


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Entire apartment recreated – Massive installation by Do Ho Suh

Entire apartment recreated – Massive installation by Do Ho Suh

Do Ho Suh - New York City Apartment, Apartment A, 348 West 22nd Street, New York, NY 10011, USA, at MOCA Cleveland, 2015, Photo Jerry Birchfield 2
Do Ho SuhNew York City Apartment, Apartment A, 348 West 22nd Street, New York, NY 10011, USA, MOCA Cleveland, 2015
Photo: Jerry Birchfield

South Korean artist Do Ho Suh created an installation based on his New York home. It serves to highlight the permeable margins that are said to disconnect private and public in addition to the normalized concepts global identity, space and place, diasporic movement, memory, and displacement. Do Ho Su’s biography is the inspiration of the architectural settings and abstracted figures.

New York City Apartment is a piece that is cognizant of the artists individual lived experiences, significantly lamp lighting his move from South Korea to the United States, in addition to the places he has called home such as his childhood home (a traditional hanok-style Korean house), the house in Rhode Island where he once lived as a student, and his current apartment in New York City.

His work invokes transparency, gradating space and intermediate areas in Korean architecture, and has been taken various physical forms such as the recapitulations of large-scale house sculptures, identifying the ostinatos of his past and present family homes, intersected in a way that makes the interiors visible. Do’s use of monochrome polyester transparent structures are luminous, architectural, and fleeting, allowing audiences to roam through the disorienting interior passageways.

The main installation seems to represent almost any and every single bedroom apartment in New York with its one living room, bedroom, kitchen, and bathroom. Each piece of the home-like installation hanging in apparent stability, however, with the lack of foundation alerts audiences to the precarious fragility of the polyester home. Even the items featured that your mind wants you to think are hard, a toilet made of solid porcelain, a heater, a light switch embedded into a wall is truly soft and material that is hardly there- leading many viewers to question if the solid objects that these translucent representations epitomize are any less precarious than the monochrome polyester. Is home, the thing we feel is most stable, truly something forever, or something that delicately hangs in the balance and can change?

Do Ho Suh - New York City Apartment, Apartment A, 348 West 22nd Street, New York, NY 10011, USA, at MOCA Cleveland, 2015, Photo Jerry Birchfield 1
Do Ho SuhNew York City Apartment, Apartment A, 348 West 22nd Street, New York, NY 10011, USA, MOCA Cleveland, 2015
Photo: Jerry Birchfield

Do Ho Suh - New York City Apartment, MOCA Cleveland, Photo Jerry Birchfield 1
Do Ho SuhNew York City Apartment, MOCA Cleveland, 2015
Photo: Jerry Birchfield

Do Ho Suh - New York City Apartment, MOCA Cleveland, Photo Jerry Birchfield 2
Do Ho SuhNew York City Apartment, MOCA Cleveland, 2015
Photo: Jerry Birchfield

Do Ho Suh - New York City Apartment, MOCA Cleveland, Photo Jerry Birchfield 3
Do Ho SuhNew York City Apartment, MOCA Cleveland, 2015
Photo: Jerry Birchfield

Do Ho Suh - New York City Apartment, MOCA Cleveland, Photo Jerry Birchfield 4
Do Ho SuhNew York City Apartment, MOCA Cleveland, 2015
Photo: Jerry Birchfield

Do Ho Suh - New York City Apartment, MOCA Cleveland, Photo Jerry Birchfield 6

Do Ho Suh - New York City Apartment, MOCA Cleveland, Photo Jerry Birchfield 7
Do Ho SuhNew York City Apartment, MOCA Cleveland, 2015
Photo: Jerry Birchfield

Do Ho Suh - New York City Apartment, MOCA Cleveland, Photo Jerry Birchfield 8
Do Ho SuhNew York City Apartment, MOCA Cleveland, 2015
Photo: Jerry Birchfield

Do Ho Suh - New York City Apartment, MOCA Cleveland, Photo Jerry Birchfield 9
Do Ho SuhNew York City Apartment, MOCA Cleveland, 2015
Photo: Jerry Birchfield

Do Ho Suh - New York City Apartment, MOCA Cleveland, Photo Jerry Birchfield 10
Do Ho SuhNew York City Apartment, MOCA Cleveland, 2015
Photo: Jerry Birchfield

Do Ho Suh - New York City Apartment, Cincinnati Contemporary Arts Center 2
Do Ho SuhNew York City Apartment, Cincinnati Contemporary Arts Center

Do Ho Suh - New York City Apartment, Cincinnati Contemporary Arts Center 1
Do Ho SuhNew York City Apartment, Cincinnati Contemporary Arts Center

Do Ho Suh - New York City Apartment, The Contemporary Austin, Photo by Brian Fitzsimmons
Do Ho SuhNew York City Apartment, The Contemporary Austin
Photo: Brian Fitzsimmons

Do Ho Suh - New York City Apartment, The Contemporary Austin 1
Do Ho SuhNew York City Apartment, The Contemporary Austin
Photo: Brian Fitzsimmons

Do Ho Suh - New York City Apartment, Apartment A, Unit 2, Corridor and Staircase, 348 West 22nd Street, New York, NY, 10011, USA. 2011–2014 (detail), The Contemporary Austin, Photo Brian Fitzsimmons 4
Do Ho SuhNew York City Apartment, Apartment A, Unit 2, Corridor and Staircase, 348 West 22nd Street, New York, NY, 10011, USA. 2011–2014 (detail), The Contemporary Austin
Photo: Brian Fitzsimmons

Do Ho Suh - New York City Apartment, Apartment A, Unit 2, Corridor and Staircase, 348 West 22nd Street, New York, NY, 10011, USA. 2011–2014, The Contemporary Austin, Photo Brian Fitzsimmons 2
Do Ho SuhNew York City Apartment, Apartment A, Unit 2, Corridor and Staircase, 348 West 22nd Street, New York, NY, 10011, USA. 2011–2014 (detail), The Contemporary Austin
Photo: Brian Fitzsimmons

Do Ho Suh - New York City Apartment, Apartment A, Unit 2, Corridor and Staircase, 348 West 22nd Street, New York, NY, 10011, USA. 2011–2014 (detail), The Contemporary Austin, Photo Brian Fitzsimmons 3
Do Ho SuhNew York City Apartment, Apartment A, Unit 2, Corridor and Staircase, 348 West 22nd Street, New York, NY, 10011, USA. 2011–2014 (detail), The Contemporary Austin
Photo: Brian Fitzsimmons

Do Ho Suh - New York City Apartment, Corridor : Ground Floor Plus Staircase, Bristol Museum and Art Gallery, 2015
Do Ho SuhNew York City Apartment, Corridor : Ground Floor Plus Staircase (detail), Bristol Museum and Art Gallery, 2015

Do Ho Suh - New York City Apartment, Bristol Museum and Art Gallery, 2015
Do Ho SuhNew York City Apartment, Bristol Museum and Art Gallery, 2015

Do Ho Suh - New York City Apartment, Corridor : Ground Floor Plus Staircase, Bristol Museum and Art Gallery, 2015 2
Do Ho SuhNew York City Apartment, Corridor : Ground Floor Plus Staircase, Bristol Museum and Art Gallery, 2015

Do Ho Suh - New York City Apartment, Staircase detail, Bristol Museum and Art Gallery, 2015
Do Ho SuhNew York City Apartment, Staircase (detail), Bristol Museum and Art Gallery, 2015

Do Ho Suh - New York City Apartment, Corridor : Ground Floor Plus Staircase, Bristol Museum and Art Gallery, 2015 3
Do Ho SuhNew York City Apartment, Corridor : Ground Floor Plus Staircase, Bristol Museum and Art Gallery, 2015


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Free candy in a museum – Félix González-Torres

Free candy in a museum – Félix González-Torres

Felix Gonzalez-Torres - "Untitled" (Portrait of Ross in L.A.), 1991, The Art Institute of Chicago
Felix Gonzalez-TorresUntitled (Portrait of Ross in L.A.), 1991, Candies individually wrapped in multicolor cellophane, endless supply. Dimensions vary with installation; ideal weight 175 lbs. At The Art Institute of Chicago
(Photo mark6mauno Flickr)

Why did Félix González-Torres install candy in museum?

Felix Gonzalez-Torres’ piece “Untitled” (Portrait of Ross in L.A.) is one of his nineteen candy pieces and featured in many museums around the world. The work targets the topic of a serious nature, one that is still unfortunately often taboo in mainstream society. It takes the topic from the shadows, where individuals still cringe and avert their eyes, and lays it on the table for discussion and contemplation.

The approximate 175 pounds of candy that make up the work resembles the 175-pound body of Ross Laycock, the artists’ boyfriend who died of AIDS in 1991. As each person takes a piece of candy, they in turn act as the AIDS virus depleting Ross’ body, piece by piece taking it away until there is nothing left. Felix Gonzalez-Torres, who dedicated his artwork to the one he love and lost, died in 1996 of AIDS.

The meaning of the artwork

His work doesn’t only represent the disease and its depletion on the body, but it represents the love between the person who is suffering from the disease and the person who is there to support them and suffer with them. The sweet candy, in and of itself, is a representation of love. If you think about giving candy to a loved one on valentine’s day, sweets in a box with flowers on mother’s day, candy has long been tied to affection and love. While the candy is eaten, while the body begins to disappear, the love remains.

While there has been much development and change since the 80’s and 90’s, there has been no cure and there has remained a stigma attached to the disease. Treatment allows individuals with HIV to live long and fairly normal lives, however, there is still much more work needed in the area, and there is a need for unstigmatized conversation.

This work of art says so much and is absolutely just as important today as it was in the 90’s. If you ever have the chance, this is a piece you must see.

Photos

Felix Gonzalez-Torres - "Untitled" (Portrait of Ross in L.A.), 1991, The Art Institute of Chicago
Felix Gonzalez-TorresUntitled (Portrait of Ross in L.A.), 1991, Candies individually wrapped in multicolor cellophane, endless supply. Dimensions vary with installation; ideal weight 175 lbs. At The Art Institute of Chicago

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